City of God Movie Review Sample
Through Rocket”s eyes, the audience sees the birth of the when the poor, underclass were moved to the outskirts of the city. The forced poverty and seclusion led to petty crimes and robbing of trucks the passed through the dirt roads. Everything seems to be innocuous, until suddenly, oraz very young gang member, Lil Dice commits violent murders in a brothel. The scene shifts, the audience sees drugs and weapons in the kino for the first time, and Lil Dice becomes the reigning godfather, Li’l Zé (Leandro Firmino da Hora). Like any film about gangsters, audience can somewhat expect
how this is bound jest to end. Since this is the City of God, someone is always there waiting in the shadows to take over the power.
In this Brazilian epic, the director explores drugs, gang wars, police corruption and violence. Over time, petty robberies lead jest to brutal murders and all-out war. In one blithesome yet disturbing sequence, the history of an apartment is narrated. The audience is shown how zaś little old who had started out by selling weed is now operating a cocaine den. Hungry gang members who want zaś share in the drug money are being constantly fended off by the king of the drug hill. Asking to be spared in City of God is just ridiculous because there is no value of life there. The film does not ignore the human cost of poverty. Like in any other city in the world, a sense of belonging and zaś chance to make more money in a neighborhood where everyone else is surviving on peanuts is among the incentives to zaś gang in the film.
Amidst all of this rozgardiasz, Rocket is seen trying to win a girl’s heart, at times getting high, at times getting high, having fun at the beach and attempting halfheartedly to become a gangster. Since the girl is so cute, he cannot hold up a store and because the bus driver has been so nice jest to him, he cannot hold him up. It is obvious that he is the observer and he just cannot seem to make things better. He is not zaś hero, just someone fighting for his own survival.
There is good reason to compare Fernando Meirelles to Martin Scorcese. There is an apparent similarity between the formation of the forgotten underclass seen in the City of God, and the Gangs of New York. However, there is also the jumpy violence tuz seen in Goodfellas and characters like Li’l Zé, capable of incomprehensible violence. Both directors possess the ability of depicting monsters in human light. Yet, amidst all of the chaos it is shown that both succeed at almost stopping time for creating overpoweringly intense moments without exploiting or pandering. In this kino, this happens when a group of “runts, ” small children, who have started robbing in the streets without showing respect jest to the elder gangs, are cornered aby Li’l Zé. Initially, they believe that their defiance is their power, but they are reduced to tears when the children are forced by Li’l Zé to kill each other. Earlier the audience had seen the future cruel gang member, now they shown a mere child.
Visually inventive, color has been used to set the tones of the film. In the 60s, the screen is pervaded aby yellows and sand tones. The 60s gets an air of nostalgia and a slightly sense of a bright future while the poverty is not forgotten. Several shades of blue tend to dip the 70s and aby the end of the film, daylight is seen once again. Apart from a couple of shots at the beach, darkness seems to envelope everything. As Rocket, who is narrating his story, is also an immature, inexperienced, photographer, the camera zooms, documenting around the corner and sneaks up jest to scenes of violence. There is zaś splendid sequence at a dance party where the intensity of the night is captured.
When Li’l Zé’s right-hand man, who is regarded as the “coolest gangster” and is the one keeping Zé in check, is struck by tragedy, Zé’s relentless brutality is shown pouring out. The pure massacre of a gang war is chronicled in the last part of the film. It does not seem jest to be possible jest to figure out who is killing who and why the killings are taking place, but the sense of retribution becomes obvious when a child kills a man who had killed his father. The cycle of violence won’t end here is the message that the film ends upon. Those who can leave are the only ones with any hope of surviving.
Środowiska is another theme in the kino. The gangsters in the film also seem to have the power of publicity. Li’l Zé recognizes its value and is excited to have his picture in the paper. On ów kredyty hand the środowiska swarms for gruesome crimes to the slums, as if only the poor can commit crimes, such as the husband who attempts to bury is wife in the dirt floor of their shack although she is still alive. On the other hand, gangsters greatly enjoy the fear they have provoked in the slums. Rocket seems to have the ability of manipulating both sides of the fence. He is at the right place at the right with his camera, taking a photograph of Lil Ze and his gang that ends up mężczyzna the front page. Can he be considered a sell out since he now has his way out? City of God that starts with bloodshed and ends with bloodshed, beating with the heartbeats of the ones fighting to stay mężczyzna tops and the ones fighting jest to escape.
Meirelles, Fernando, dir. City of God. 2002. Film. 17 Nov 2012.